For most event companies, video is a jump that seems too costly to make and the return on investment is questionable. That does not need to be the case with the new technologies being applied to processing equipment and to projectors.
Starting with a small system for corporate A/V or club use, a complete system can be assembled for less than $50,000. The system will include a basic input switcher, the appropriate amps and drivers, cabling, and for simplicity’s sake, one screen and projector.
The design philosophy here is to be simple, reliable and costeffective. The intention is build a system that won’t set you back and allow you to get your video operation up and running, see some return on your investment and then begin upgrading your gear.
Sources
A small corporate video rental will typically have video playback (DVD or tape), computer slides and one or two cameras for image magnification. Several manufacturers have high-quality rack mount DVD players that price in the $400 to $500 range. There are several very popular semi-broadcast quality camcorders on the market that generally fall into the $5,000 price range that will produce images with good clarity without the added expense of Camera Control Units or extra personnel.
For your computer inputs, have your own PC available, but allow the presenter to connect their laptops as well. This can be handled in a couple of different ways. The preferred method is to give them their own dedicated input that allows you to maintain a separate machine for titling. Install an auto-switch at the PC input to your switcher that will activate whenever a remote computer is plugged in. It would be advisable to have a manual override of this unit. This will allow you to bring in a presenter computer for their presentation but allow you to insert titles.
Switcher
Before selecting a switcher, you will need to decide which video format you will be presenting. You can use either video formats or computer formats and choose either analog or digital. They each have pros and cons that could fill volumes.
The format you choose will determine the type of switcher. You can go from single racks space units like the Extron DVS-406 and the Altinex AP445-401 up to a desktop switcher like the Edirol V440-HD and the Analog Way Diventix. All of these have onboard scalers that will convert your video formats so that you have a single output format. All of your onscreen transitions will be smooth and seamless.
Program and Preview
Your program feed is what you will send to your presentation device(s). Program could go to the main projector and possibly “delay” screens in deeper rooms or to plasma screens in the foyer or overflow rooms. You might also be asked to record the event. I recommend taking everything to a hard disk recorder whether asked to or not and have it available just in case. DVD recorders with hard drives are coming down in price and it makes sense to have at least one in your rig.
For distribution amps and preview monitors, you can either use the preview out of your switcher (assuming it has one—the entry level units typically do not) or you can set up a small screen for each source. This is the more common method. It allows you to see most (if not all) of your inputs to help decide where you want to go next. However, you will need to connect your source to both the switcher and the monitor. If your preview monitors or switcher do not have a loop-through at the input, you will need distribution amplifiers. Additionally, if you are sending your outputs to multiple locations, you will need DAs for them as well. This will allow you to cover the recording and any overflow issues that may arise.
Cabling
For event video cabling, all I can say is that you get what you pay for. Several manufacturers now have video cables specifically for event staging. Check with your rep to see what they recommend. Many also recommend their connectors to go on their cables. It helps to know that the connection you just made is going to last through the show. Be sure to keep spare connectors to fix things like BNC connectors that have been stepped on or RCA connectors that have been pulled out. And it helps to have a bag full of adapters close by.
Projector
Your projector is the most limiting part of your rig in terms of brightness or resolution. For event production, you should go no lower than SXGA+ and prefer – ably UXGA or WXGA. More pixels on the screen means a sharper image. An SXGA (1,024 pixels wide) image displayed 20 feet wide will have approximately quarterinch pixels. This is not a problem as long as the audience is not right on the screen. A 16-foot-wide screen is typically sufficient for most corporate events and will produce a nice image up-close.
Also consider DLP versus LCD. LCD images are “filtered” light passing through the LCD panel. A 5,000-lumen LCD image may not appear as bright as an image of the same number of lumens on a DLP projector, depending on the program material. Also, LCDs, by nature of their manufacture, have what is commonly referred to as the “screen door effect.” That’s a grid appearance at very sharp focus where you can see the individual pixels. DLPs have a much tighter pattern and the screen door effect almost vanishes.
DLPs are typically more expensive to operate, due to the higher replacement cost of the lamps. Average lamp life is between 100 and 1,500 hours. In rental and staging applications, you will probably want to replace the lamps every 1,000 hours as the image will begin to dim as the lamps begin to burn out. You will want to have spare lamps on hand as well.
Screen
Durability is king when it comes to screens in rental applications. Both Da-Lite and Draper make high quality framed screens for this application. Setup and tear-down are the most dangerous times for screens. It is important to take every reasonable precaution to keep the screens from getting dirty.
Finally
And now you have assembled a compact video rig that is quick and simple to set up and won’t break the bank. You have a rack for your switchgear, a case for you projector and screen. You will also need a drawer in your work box for spare connectors, lamps and adapters. With a case for your cabling, you’re done. Depending on how busy you can keep it, it a short time you should be able to begin expanding the system, and thereby your services.
Paul Duryee has been involved in professional AV for over 15 years. He is currently the lead systems designer for Maxx Technology, a design/build AVL integrator based in Nashville, where he lives with his wife and daughter. He can be reached at pduryee@plsn.com.
